InDesign from scratch

Note taking from CAD session with Alex:

InDesign is a layout tool – great for magazines and books

Make sure you organise your files really well. 

Everything uses links.

With InDesign and illustrator – 

InDesign set up – make a folder on your desktop (session one) – make a folder called images. Always put your InDesign images into your folder so they don’t get lost and they are easy to access. Keep all your InDesign information together in one folder.

File – new – document – print 

(Google – page dimensions to find the size you need to create your document.)

Facing pages – means book – un check it if you are creating a poster

One area you will use loads in InDesign will be PAGES. – Get great clarification on what’s going on. 

GRIDS – using grids is very professional in InDesign and structures your layout better. 

Select shift on both pages in order to add a grid. Select layout – margins and columns. 

Expand on the Inside (margins and columns) – for gluing and binding finished book

If you staple your book you don’t need to worry about the inside.

On InDesign – you have to draw a box for everything. 

There is always 3 different fonts - Heading, subheading and body.

Highlight the text boxes then press cmd – alt – c – this will tidy up your boxes 

If you want to see what your print copy will look like just press W. 

Draw three separate boxes within the columns. 

Body copy font is between 8 – 11.

Type – fill with plate order text – see what it will look like. 

If there is too much text in one box – click on the little red plus that’s on the box then click on to the other box where you want the text to fit. 

To pull an image into InDesign – click on finder to find your folder for your images.  

1 way: Drag and drop an image – 

Use Cmd then drag the edge of the image so that it doesn’t crop the image 

Placing an image into InDesign another way – cmd + D then place image.

If your image is a Photoshop file and you need to edit, adjust little bits - Select alt then double click (in InDesign) – then it opens in Photoshop. When you save it – it will update the image in InDesign. 

A-Master – if you select the a-master – double click so you have selected the pages. Change you’re a-master layout to the same layout as your pages. – layout – margins and columns. 

You can however create multiple master layouts. Create a new A – master – right hand click in the area and select new master.

Right hand click on the pages you want to change to a different master - Apply master page 

If you apply any text or image to your master pages, it will apply it to every single page: for example text – Tiffany Fishleigh MA project 2017 – can apply to every page. 

Page numbers.

Type – insert special character – marker – current page number

A Masters list the page numbers in alphabet. – place where you want to put the page number. Make sure page numbers are roughly size 6. 

Window – text wrap – makes it go around an image

If it’s a person and it has a square white background but you want the text to go around the person go - Window – text wrap – makes it go around an image

Then Type – contour edges - detect edges then place the image behind the text

Object – arrange – centre back

Lock the text so you can move the image

T.S.P. Method Lab 01

Why do we use sources?

We use sources to evidence our research, from this we transfer understanding from our

Learning practice to gathering ideas and information. In all design disciplines, secondary

research is one of the critical types of research methods to use because it helps us to

identify, build and support our arguments. From this we can demonstrate an understanding

of that particular discipline.

What is secondary research?

This type of research method uses the process of collecting existing data from other sources for example either from the originator or a distributor of a primary source. In other words accessing information that has already been collected by somebody else, this can be done through online databases, books, magazine articles and other sources.

The Macro environment.

From a marketing perspective, by looking at the dynamic nature of the marketing environment, it consists of the following two factors which are actors and forces. If we look at forces in this case, this is an uncontrollable macro factor which means that businesses have to change and adapt to the environment around them. For designers today it can be difficult to get a clear definition for what design actually is. A huge problem today within design is that the world is constantly expanding. Issues within a design business has become much more complex because of the world constantly changing, therefore designers are forced to adapt and must learn new materials and expand on their knowledge within their field of practice.

TASK:

After being introduced to the basics of collecting, analysing and interpreting data in secondary research, we were given a task to work in small groups to go and research a topic. We had to collect information that we found interesting and important, from this we had to categorize our findings and organise them thematically. Once structuring our ideas more clearly we came up with a research question supporting our findings.

Pechakucha – 20x20

Pechakucha is a company that invented the 20x20 method, which in basic terms means presenting 20 slides in the space of 20 seconds.

In your visual essay it is important to:

·      Reference your images

·      Tells a person a story

·      It needs to be impactful and visual

·      Argue a claim

·      Illustrate a social problem

·      Release information

·      Educational

A visual essay allows you to have your say.

A picture paints a thousand words.

Could be advertising or celebrities.

It needs to have a punch.

Don’t let it be boring.

Using music, video, quotes, pictures; powerful imagery can have a more powerful emotional effect on an audience.

What to include?

Photos

Videos

Personality filmed video

Graphic/illustrative images

Tables, charts, graphics

Spoken words

Music

Sound

Finding the images? -

·      Pinterest

·      Take your own photos

·      Instagram

·      Draw

Planning…

Think about what you want to say and how to present it

You need to have an introduction, a body and a conclusion.

Introduce the two brands you have decided to look at and what you are going to talk about in your visual essay.

Talk about the image and use a relevant image for each slide.

Treat it like a story – treat it with a beginning – middle and end.

Go out with a bang – remember to conclude everything you have found, it’s the opportunity to show what you have learnt.

For ideas go to: Pechakucha.com

Types of formats to present on: 

iMovie – free with a mac

Keynote (better for PowerPoints) – on all macs

Understanding Porter's Five Forces

1. Competitive Rivalry. This looks at the number and strength of your competitors. How many rivals do you have? Who are they, and how does the quality of their products and services compare with yours?
2. Where rivalry is intense, companies can attract customers with aggressive price cuts and high-impact marketing campaigns. Also, in markets with lots of rivals, your suppliers and buyers can go elsewhere if they feel that they're not getting a good deal from you.
   On the other hand, where competitive rivalry is minimal, and no one else is doing what you do, then you'll likely have tremendous strength and healthy profits.
3. Supplier Power. This is determined by how easy it is for your suppliers to increase their prices. How many potential suppliers do you have? How unique is the product or service that they provide, and how expensive would it be to switch from one supplier to another?
   The more you have to choose from, the easier it will be to switch to a cheaper alternative. But the fewer suppliers there are, and the more you need their help, the stronger their position and their ability to charge you more. That can impact your profit.
4. Buyer Power. Here, you ask yourself how easy it is for buyers to drive your prices down. How many buyers are there, and how big are their orders? How much would it cost them to switch from your products and services to those of a rival? Are your buyers strong enough to dictate terms to you?
   When you deal with only a few savvy customers, they have more power, but your power increases if you have many customers.
5. Threat of Substitution. This refers to the likelihood of your customers finding a different way of doing what you do. For example, if you supply a unique software product that automates an important process, people may substitute it by doing the process manually or by outsourcing it. A substitution that is easy and cheap to make can weaken your position and threaten your profitability.
6. Threat of New Entry. Your position can be affected by people's ability to enter your market. So, think about how easily this could be done. How easy is it to get a foothold in your industry or market? How much would it cost, and how tightly is your sector regulated?
   If it takes little money and effort to enter your market and compete effectively, or if you have little protection for your key technologies, then rivals can quickly enter your market and weaken your position. If you have strong and durable barriers to entry, then you can preserve a favorable position and take fair advantage of it.

https://www.mindtools.com/pages/article/newTMC_08.htm 

STATE ~ OF ~ THE ~ ARTS

MEET BRUTA.

"Bruta means different things in different languages, but all along the lines of crazy, crude, raw, dumb, or ugly," says London-based designer Arthur Yates of the name of his new line of shirts. "I liked the universality of the word and the way it sounds, but maybe it relates to my brand because you can't pin down what it means exactly, but it looks good!" (Laurel Pantin, Feb 3, 2016 ) http://www.wearesweet.co/fashion/reviews/g92/a-stitch-in-time/ 12:55 26/09/17

As an emerging designer, Arthur Yates, who is the founder of Bruta, launched his fashion and homeware label in 2015. Bruta is not like your typical high street fashion label. Yates wanted to combines the concept of romance and elegance with urban London streetwear. Each individual item has its very own unique edge, looking into heritage, culture, art and traditional crafts. With having no formal fashion training behind him, Yates used his background knowledge of arts and introduced a creative approach within his clothing. His designs celebrate local crafts, bold colours and hand designed embroidery, all of which are produced single handedly by Yates.

"In fashion you have to find a nice balance between being creative and creating wearable clothes." (Arthur Yates Quote - Interview for Metal Magazine)

The London-based line consists of loose fitted, non formal shirting with a unisex approach, which are then either embroidered or printed with varying motifs. The vision behind Bruta is to bring elegance and grace into everyday casual street wear. Along with his innovative shirting follows Yates own handpainted designs, with the artwork infused onto ceramic milk urns that he sources around farms in the UK.

Arthur's career in fashion began in 2008, he was only a teenager when he launched his own manufacturing company which involved producing jersey and denim apparel for the British high-street retailers such as Topshop, River Island and Asos. After several years of supplying high street brands with fast fashion along with maintaining regular art shows to showcase his paintings and sculptures, Yates decided to create his very own fashion label that would bring those two worlds together.

LAUNCHING BRUTA.

By 2013, Yates mentioned how the company was “eating away at his soul”. He wanted to get out of his current job and create a project that would be meaningful to him. Yates began to think about how he could adapt a relationship between creativity and business, from this Bruta was born.

Brutas story all began with the inspiration of the simplicity and seasonless nature of Savile Row tailors. Yates took inspiration from the designs that were timeless rather than trend-focused. His own unique adaption in his collection was to combine shirting and pottery.

Using Savile Row as a start point, he decided to undercut tradition by creating sharply-cut, gender-fluid shirts with colourful bunched flowers, and stitched graphic motifs along the collars and sleeves. http://alist.vanityfair.co.uk/centre-stage-bruta-13856/ 14:32 26/09/17

Yates does all of his work from home with his girlfriend and company director, Phoebe Saatchi. After Yates quietly launched the brand, it did not take long to get noticed. Its striking concept of using two distinct elements became very popular.

After just 18 months into his projects, Yates attracted a number of influential wholesale stockists, such as Liberty, YBD and Present London. Now Bruta currently stocks in the UK, Japan and China.

“There wasn’t some master plan, I was just doing them in my bedroom with help from my girlfriend. And now it’s growing into something a little bit more serious, and people are taking interest.” (Arthur Yates, the new york times style magazine, JAN. 11, 2016)

Bruta started with a small winter/fall 2015 collection that offered shirts and pottery that was picked up by a handful of boutiques — including H Lorenzo in Los Angeles, Idea by Sosu in Tokyo and Celestine Eleven in London. (HATTIE CRISELL JAN. 11, 2016).

https://www.nytimes.com/2016/01/11/t-magazine/fashion/bruta-fashion-homewares-arthur-yates.html

“Bruta reflects everything exciting that is happening in men’s wear at the moment as the aesthetic is moving from something very clean to a place where print, embellishment and embroidery are at the fore,” http://wwd.com/fashion-news/fashion-scoops/british-label-bruta-launch-liberty-of-london-10345876/

Looking into Yates collections you can see his inspiration from the charms and absurdities of art, culture and humanity. The Gaucho Zambino s/s16 collection, pays homage to Gaugin and his time in Tahiti. The unisex shirts use patterns found on traditional primitive Tahitian loincloths & explores Gaugin's ideas of Paradise Lost.

For his most recent A/W17 collection, Bruta creates Anglo Tango. For this collection Yates has paid homage to England’s rich history, taking the most intrinsic elements of British culture and reworking them into a contemporary collection that oozes sophistication and playfulness. In honour of the new collection, Pheobe Saatchi produced and directed a short film to resemble the brand’s signature sense of humour. https://www.wonderlandmagazine.com/2017/07/14/bruta-anglo-tango/

What is the brand currently doing?

Are they looking into future collaborations?

Looking to expand?

THE BRAND PHILOSOPHY.

• Very personal.
• Holds meaning and life inspirations.
• The clothing takes you on a journey.
• Artistic and cultural

MARKETING OBSERVATION.

From observing Bruta from a personal point of view, The brand still remains an outsider to the modernised world of fashion. Their main target audience are often remote and individualistic to the norm. It indulges into fashion absurdities of art, culture and humanity. Their aim is to target a youthful generation with a sense of diversity and creativity. A statement from yates reads:

“My idea of luxury is to be inclusive and democratic. With Bruta we try and make clothes at an affordable price to allow our youthful customer to indulge in our world!”

The brands unique selling points cover their social media and its stockists. Bruta’s website reveals very modern in the sense that it is bold and ‘straight to the point’. It captivates visual elements such as art directed photographs and videography. It holds a very obsolescent, classical film characteristic to its online platform. Along with its main website, Bruta has several social media platforms such as Instagram and Facebook, however from observing this, their identity appeared to be very unpopular. Their instagram currently holds 5,671 followers with a number of 50 - 200 likes for each post. Again with their Facebook home page, only 419 people like the account, which seems to indicate a lack of marketing and promotion. Although, despite the muted online platforms; because Bruta have several stockists in department stores around the world, the brand will more likely get more recognition and popularity this way.

Micro Environment.Week 2

Suppliers - Intermediaries 

Suppliers can impact on a business.
You can choose wether or not to stick with your supplier or choose another supplier - this is an example of the micro environment.

Suppliers with unique or products that are scarce - these can push prices, within this you have no control - this is a macro environment

Competitors 

Nokia for example - this was the only phone on the market - it was the go to phone
once new competitors developed and marketed better alternatives,  Nokia failing to be innovative and therefore get forgotten about.


Distribution

Serving directly or through a distributor - you choose - it is a micro factor.

Online distribution - best known in fashion
the competition - all trying to compete for one customer
fashion - fact moving turn around


marketing - the necessary evil - you do everything you can to sell your product

Porters - The Five Forces Framework

• potential threats
• buyers - can influence the price - bargaining power
• substitutes - are products that perform the same function. if your product can offer a substitute then it delivers the same function, which lacks the business competition. 
• suppliers - bargaining power - can push the price up
• competitive rivalry - within the industry

Applying the 5 forces in to your brands

• look at their past profitability - can help predict the future profitability  - forecasting industry
• Entry - barriers - make this market unattractive - using a unique example of a USP.
• Rivalry - Primark for example - compete on non-price dimensions. 
• Substitutes - improve attractiveness compared to substitutes - better service, more features (example Asos - model features online)
• Buyers - reduce buyer uniqueness (Selfridges - have higher and lower brands/ high street in their store - you get the Selfridges bag to show you shopped from there making it ultimately look expensive). 
• - Suppliers reduce supplier uniqueness 

INSIDE MOSCHINO

WHY MOSCHINO?
Moschino as we know it today is recognised for its unique, innovative style. The ready-to-wear Italian fashion label overtook fashion headlines with its rebellious, surrealist take on the fashion industry. The label very quickly became famous for its originality and its innovation in campaigns on raising awareness on important social issues. Moschino was never shy of a controversial statement and often made jokes at the industry's "fashion victims" who were also, in fact his customers. His use of imagination and creativity of using pop culture and visual puns has really enhanced the way we look at what luxury couture fashion is today. 




From this visual representation of Moschino's identity, you can see that it is very creative and bold, along with indications of bursts of colour and eccentric prints. The brand is very tongue-and-cheek which is a figure of speech that is used to imply humorously or otherwise not seriously intended. Moschino was never shy of a controversial statement and often made jokes at the industry's "fashion victims" who were also, in fact his customers. Despite the humour that is used throughout the majority of his work, Moschino was in fact a superb tailorer.  His ability to produce flattering clothing always shone through.


CUSTOMER PROFILE.
Moschino has grown into a global brand with multiple lines such as Moschino- main line for men and women; Moschino Cheap and Chic, Love Moschino, Moschino Jeans and it’s extremely lucrative fragrance label that is home to twelve perfumes! https://www.styl.sh/articles/809-the-story-behind-moschino

HISTORY ~

The man behind the label was Franco Moschino. Franco was born on February 27, 1950 in Abbiategrasso, italy, and sadly died on September 18, 1994 in Milan, at the age of just 44 years old, due to an aid-related death.

Franco’s father wanted him to work in the family business, however he wanted to pursue his love for fine art and therefore ran away to Milan and enrolled at the Accademia di Belle Arti where he studied from 1968 to 1971, supplementing his student budget with design and illustration commissions for fashion houses and magazines. Once he graduated he became an illustrator for Versace.

The brand launched when Moschino eventually left his job as Gianni Versace to create his own signature brand in 1983. He founded his own company called Moonshadow, the same year he launched Moschino Couture. Then lines such as love moschino, cheap and chic and moschino jeans later came. From this Moschino became famous for his eccentric designs and his social awareness campaigns in the early 1990s.

DEATH & LEGACY:

After Moschino's death, Rossella Jardini, his former assistant, became the director of the brand, then in 2013, LA designer Jeremy Scott took over the brand name as creative director.

BRAND IDENTITY

In order to explore Moschino and its identity as a brand, I put together a moodboard to visualize the aspects of the brand.

THE PEOPLES DESIGNER - JEREMY SCOTT.

If fashion were a candy store, Jeremy Scott would be the wide-eyed, gape-mouthed kid standing smack-dab in the middle of it. https://www.vogue.com/fashion-shows/designer/jeremy-scott

Scott was born in Kansas City, Missouri, and grew up in a small farm house. He was full of imagination and fashion obsessed from a young age. Growing up Scott's sexual identity was difficult to convey, not so much for him but for others to around him, to understand and to just accept him. By looking different or seeing things in a different way, people approached it as a threat. Even to this day, as creative director for Moschino, which has always been an looked at as an “anarchist to fashion” brand anyway, Scott really brought a whole new energy to fashion culture using futuristic pop culture within the garments.

Scott describes himself not only as a designer but as an artist, a communicator, an icon. Ultimately he says he is a boy from a small farm with a big dream.  

Before scott took on the role as director of the brand, Moschino lacked its youth and sense of humour. After Franco Moschino died the brand became more and more unnoticed, the pop cultural, humorous references began to fade, people were beginning to forget about the brand.

However, since pulling it back in 2013, Celebrities such as Katy Perry, Miley Cyrus and Rihanna all gravitate towards Scott because of the bold statement - the clothes are guaranteed to be noticed. The clothes are to represent people being very expressive, forward and fully free, which is very empowering. Many people feel uncomfortable because it's way out of their comfort zone, it's not the typical black and chic which people expect to see in the fashion industry. Scott states that still to this day there is no designer that's turning fashion on its head and playing with brand perception.

Both Franco Moschino and Jeremy Scott were outsiders to the main stream fashion system, yet were still fashionable in a strange, unique way. By being so different causes a huge impact, whether that's negative or positive, either way it's being talked about and that's better than not being talked about at all.

USP (unique ~ selling ~ point)

THE MASCOT.

Most designer brands usually has something or someone to represent the brand, kind of like a mascot. Usually designer brands use a model or an actress to epitomize the characteristics of a brands value. Moschino however use a cartoon character which is Olive from Popeye. Everything the brand does suits her personality and her style. The cartoon represents joy and playfulness. It makes it fun and engaging for consumers, it keeps them curious and wanting more.

Moschino’s customer appeals to the youthful generation who are a bit rebellious and resentful and want to push fashion boundaries. Its to target those with money and are wanting to use that to get attention by buying these OTT outfits/fragrances/accessories. Moschino's real money maker comes from its accessories. By selling fragrances and phone cases between the price category of £30 - £100 young people begin to buy into the brand and then continue to hook you onto the more expensive items.

PERSONALITY AND NARRITIVE

“A needle became his paintbrush”

Originally Moschino wanted to become a painter, however after his studies he began to design clothes for different Italian fashion houses, from this his aspiration for painting turned into design. A needle became his paintbrush and the fabric became his canvas.

When he eventually launched Moschino, the brand started off with designs of jeans and other casual wear, shoes and lingerie. He later created luxurious eveningwear and then perfume. Years later the brand expanded with the creation of the ‘cheap and chic’ womenswear line.

http://www.made-in-italy.com/italian-fashion/designers-and-brands/moschino